Herbert Hill (January 24, 1924 – August 15, 2004) was the labor director of the National Association for the Advancement of Colored People for decades and was a frequent contributor to New Politics (magazine) as well as the author of several books. He was later Evjue-Bascom Professor of Afro-American Studies and Industrial Relations at the University of Wisconsin–Madison and eventually emeritus professor. He played a significant role in the civil rights movement in pressuring labor unions to desegregate and to seriously implement measures that would integrate African Americans in the labor market. He was also famous for his belief that American trade unions had downplayed the history of racism that tarred their reputations, before and after the Jim Crow era.
Hill earned a B.A. from New York University in 1945 and attended the New School for Social Research from 1946 until 1948 where he studied under the distinguished political theorist, Hannah Arendt. During the 1940s, Hill was a member of the Socialist Workers Party. Hill (although white) was appointed Labor Director of the NAACP in 1951 where he worked until 1977 when he departed for a professorship at the University of Wisconsin–Madison. He was highly critical of the practice of nepotism in many unions whereby relatives of members were hired. Hill criticized labour relations practises in numerous industries including the film industry as well as the progress of the Kennedy Administration on issues of racial equality in the workplace. Among the many unions he criticized for their record on racial equality were the International Ladies Garment Workers Union, the United Auto Workers, the United Federation of Teachers and the United Steelworkers of America as well as the AFL-CIO federation itself. Hill particularly objected to the AFL-CIO position that Title VII of the 1964 Civil Rights Act should not interfere with existing seniority systems. He was also a strong supporter of affirmative action. According to a New Politics article by Stephen Steinberg, Supreme Court Justice Thurgood Marshall once described Hill as "the best barbershop lawyer in the United States".
He also organized pickets to raise awareness of racial discrimination in the construction industry. His conduct was so controversial that some unions threatened to withhold funding of the NAACP unless Hill was fired, but the NAACP leadership under Roy Wilkins supported Hill. Hill published over one hundred articles in journals, anthologies and newspapers and was also known for debates with labor historian Herbert Gutman as well as debates in New Politics (magazine) with union leader Al Shanker and Nelson Lichtenstein, an academic and biographer of Walter Reuther. Hill was especially sharp against Lichtenstein's support for the allegedly racist Reuther and the UAW's activities to betray the civil rights movement. He also served as a consultant for the Equal Employment Opportunity Commission and the United Nations.
One of the most important campaigns led by Hill was his campaign against the discriminatory practices of the ILGWU. Despite the fact that the ILGWU had cooperated with the NAACP with respect to desegregation of union locals in the South, as late as the early 1960s, there were still no African-American nor Puerto Rican officers or executive board members in the ILGWU in its New York City base. The ILGWU was of particular importance because of its major role in the Liberal Party of New York. Hill played a key role in taking on a complaint against Local 10 of the ILGWU of an African American cutter, Ernest Holmes, who had been repeatedly prevented from joining the cutters' union, thereby receiving lower wages and denied the health and welfare benefits associated with union membership. Hill alleged that the ILGWU restricted African American and Puerto Rican workers to low paying jobs. In 1962, the New York State Commission for Human Rights found that Local 10 had violated the state antidiscrimination law. The ILGWU launched a public relations campaign alleging partisanship on the part of the Republican appointed Commission in response and did little to solve the problem. Writing in New Politics (magazine), a leading ILGWU official, Gus Tyler, attempted to show that there were African Americans and Puerto Ricans in the union. Adam Clayton Powell Jr. held Congressional hearings in the House Committee on Education and Labor on the ILGWU practices in 1962. Hill testified at the hearings, criticizing David Dubinsky for his governance of the ILGWU. Even though Hill was Jewish, allegations of anti-semitism were made with respect to the NAACP critique of the ILGWU. Changes to the ILGWU only came about slowly, especially after the retirement of Dubinsky in 1966.
Tuesday, February 1, 2011
Herbert Hill: NAACP Labor Lawyer
Thursday, January 13, 2011
The ILGWU: August 1, 1938, part 2
Life Ilgwu 1938
Displayed at the Grey Art Gallery in remembrance of the Triangle Shirtwaist Fire 100th anniversary. I was curious to find out whether Yetta Henner was still alive. I assumed she married Hy Stofsky, her boyfriend in the article. Sadly, a Yetta Stofsky passed away in 1995 in Florida at the same age Yetta Henner would have been. Living where she did on Rivington Street her family may have known the Greenglass family from around the corner. She was around the same age as Ethel.
Wednesday, January 12, 2011
The ILGWU: August 1, 1938
Hansel Mieth (1909–1998) was a German-born photojournalist who worked on the staff of LIFE Magazine. She was best known for her social commentary photography which recorded the lives of working class Americans in the 1930s and 1940s.
She was born Johanna Mieth in Oppelsbohm, Germany, one of three daughters of a strict, religious family. She ran away from home at the age of 15 and did factory work before emigrating to the United States in 1930 to join her lover and fellow photographer Otto Hagel (1909–1973). The couple found themselves in the midst of the Great Depression and worked as migrant farm labourers for several years. During that time they began to photograph the brutal working conditions and suffering they saw around them, after acquiring a second-hand Leica camera. In San Francisco, Sacramento, and in the rural towns they worked in, they photographed the bitter labour strikes and the working homeless. They were involved with the San Francisco Film and Photo League during the early 1930s. They also became acquainted with working photographers and began to sell their own photographs to magazines.
In 1937 Mieth joined the staff of LIFE Magazine (only the second woman photographer to do so), and she and Otto (whom she married in 1940), moved to New York. He was then still a German citizen, so in order to escape internment during the Second World War the couple fled to a remote ranch near Santa Rosa in northern California. Mieth continued to accept photography assignments for LIFE, while Hagel never left the Singing Hills Ranch.
During the War Mieth photographed Japanese Americans who had been taken from their homes and interned by the Roosevelt government. In the early 1950s, the couple's refusal to appear before the House Un-American Activities Committee (where they would have been required to name names of their friends in the labour movement) led to Mieth's losing her job at LIFE, and to their being unofficially blacklisted. Shunned by their former friends, the couple retired to their ranch in California where they raised livestock and where Mieth took up painting. She died in Santa Rosa California in 1998.
Mieth's life story was told in a one-hour documentary titled Hansel Mieth: Vagabond Photographer,which aired on PBS' Independent Lens series in 2003.
The full archive of Hansel Mieth's work is located at the Center for Creative Photography (CCP) at the University of Arizona in Tucson, which also manages the copyright of her work.
Sunday, January 9, 2011
Pins and Needles: Sing Me A Song With Social Significance
This is the song "Sing Me a Song With Social Significance", sung by Rose Marie Jun, from the 1962 revival cast of Pins and Needles.
Pins and Needles is a Broadway revue, written originally in 1937s. The revue was written, sponsored, and performed by the International Ladies Garment Workers Union, who held their union meetings at the Princess theater in New York City.
The cast members all had full time factory jobs in the garment industry, and thus could only rehearse during the night and on the weekends.
Pins and Needles used its voice to air strong pro-Union opinions, incorporating current events from its time. The show features light hearted and clever use of satire and spoof to poke fun of such things fascist dictators in Europe and snooty American bigots.
The American theatre historian and writer John Kenrick said of the show Pins and Needles "is the only hit ever produced by a labor union, and the only time when a group of unknown non-professionals brought a successful musical to Broadway."
I'm tired of moon songs, of star and of June songs,
They simply make me nap.
And ditties romantic drive me nearly frantic,
I think they're all full of pap.
History's making, nations are quaking,
Why sing of stars above?
For while we are waiting, father time's creating
New things to be singing of...
Sing me a song with social significance,
All other tunes are taboo.
I want a ditty with heat in it,
Appealing with feeling and meat in it.
Sing me a song with social significance,
Or you can sing till you're blue,
Let meaning shine from every line
Or I won't love you.
Sing me of wars, sing me of breadlines,
Tell me of front page news,
Sing me of strikes and last minute headlines,
Dress your observations in syncopation.
Sing me a song with social significance,
There's nothing else that will do.
It must get hot with what is what
Or I won't love you.
Sing me a song with social significance,
All other tunes are taboo,
I want a song that's satirical,
And putting the mere into miracle.
Sing me a song with social significance,
Or you can sing till you're blue,
It must be packed with social fact
Or I won't love you.
Sing me of crime and conferences martial,
Tell me of mills and of mines,
Sing me of courts that aren't impartial,
What's to be done with 'em? Tell me in rhythm.
Sing me a song with social significance,
There's nothing else that will do.
It must be dense with common sense
Or I won't love you.
Pins and Needles: Doing The Reactionary Rag
It's darker than the dark bottomThe song is from the play Pins and Needles. About the production:
It rumbles more than the Rumba
If you think that the two-steps got 'em
Just take a look at this number
It's got that certain swing
That makes you wanna sing
Don't go left, but be polite
Move to the right
Doing the reactionary
Close your eyes to where you're bound
And you'll be found
Doing the reactionary
All the best dictators do it
Millionaires keep steppin' to it
The Four Hundred love to sing it
Ford and Morgan swing it
Hands up high and shake your head
You'll soon see red
Doing the reactionary
Don't go left, but be polite
Move to the right
Doing the reactionary
Close your eyes to where you're bound
And you'll be found
Doing the reactionary
All the best dictators do it
Millionaires keep steppin' to it
The Four Hundred love to sing it
Ford and Morgan swing it
Hands up high and shake your head
You'll soon see red
Doing the reac-
Doing the reac-Tionary
So get in it, begin it
It's smart, oh, so very
To do the reactionary!
The International Ladies Garment Workers Union used the Princess Theatre in New York City as a meeting hall. The union sponsored an inexpensive revue with LGWU workers as the cast and two pianos. Because of their factory jobs, participants could rehearse only at night and on weekends, and initial performances were presented only on Friday and Saturday nights. The original cast was made up of cutters, basters, and sewing machine operators.
Pins and Needles looked at current events from a pro-union standpoint. It was "lighthearted look at young workers in a changing society in the middle of America's most politically engaged city." Skits spoofed everything from Fascist European dictators to bigots in the DAR. Word-of-mouth was so enthusiastically positive that the cast abandoned their day jobs and the production expanded to a full performance schedule of eight shows per week. New songs and skits were introduced every few months to keep the show topical.
According to John Kenrick, Pins and Needles "is the only hit ever produced by a labor union, and the only time when a group of unknown non-professionals brought a successful musical to Broadway."
Originally written for a small theatrical production, the first production of "Pins and Needles" was directed by Samuel Roland. After a two week professional run, it was adapted for performances by members of the then-striking International Garment Workers' Union as an entertainment for its members. Because Roland was associated with left-wing causes, he was asked by ILGWU president David Dubinsky to withdraw. The better-known ILGWU production was directed by Charles Friedman and choreographed by Benjamin Zemach. It opened on November 27, 1937 at the Labor Stage Theatre and then transferred to the Windsor Theatre on January 1, 1939, finally closing on June 22, 1940 after 1108 performances. The cast included Harry Clark, who continued his acting career with roles in The Skin of Our Teeth, One Touch of Venus, Call Me Mister, Kiss Me, Kate, and Will Success Spoil Rock Hunter?.
The Roundabout Theatre Company produced a revival Off-Broadway at the Roundabout Stage 1 Theatre in 1978, which ran for 225 performances.
The Jewish Repertory Theatre presented a concert in 2003, to include songs and sketches from all versions of the show.
ILGWU Anthem
This comes from a 1965 performance at the 32nd Convention of the ILGWU.
A reference to this anthem is made in Rose Pesotta's Bread Upon The Waters
Saturday, May 10, 2008
There Once Was A Union Maid
from pseudo-intellectualism 12/28/07
I resuscitated this old slide show from 2002 that had triangle shirtwaist images for the google video player. Images are bad, but the songs (2 versions) still rouse the spirit. You can download a better version here
Union Maid by Woody Guthrie
There once was a union maid, she never was afraid
Of goons and ginks and company finks and the deputy sheriffs who made the raid.
She went to the union hall when a meeting it was called,
And when the Legion boys come 'round
She always stood her ground.
Oh, you can't scare me, I'm sticking to the union,
I'm sticking to the union, I'm sticking to the union.
Oh, you can't scare me, I'm sticking to the union,
I'm sticking to the union 'til the day I die.
This union maid was wise to the tricks of company spies,
She couldn't be fooled by a company stool, she'd always organize the guys.
She always got her way when she struck for better pay.
She'd show her card to the National Guard
And this is what she'd say
You gals who want to be free, just take a tip from me;
Get you a man who's a union man and join the ladies' auxiliary.
Married life ain't hard when you got a union card,
A union man has a happy life when he's got a union wife.
Sunday, May 4, 2008
Subscribe to:
Posts (Atom)
